Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

Alek Shrader as Alexander, Paul Appleby as Agenore, and Daniela Mack as Tamiri (all foreground) with supernumeraries Mark Goff and Elizabeth Zharoff in Opera Theatre of Saint Louis's 2009 production of Mozart's IL RE PASTORE. Copyright: Ken Howard 2009
24 Jun 2009

Saint Louis: Reliably Excellent

It is quite possible that Opera Theatre of Saint Louis is the leading summer opera destination in the United States.

Aminta: Heidi Stober; Elisa:Maureen McKay; Alessandro: Alek Shrader; Agenore: Paul Appleby; Tamiri: Daniela Mack. Jean-Marie Zeitouni: Conductor. Chas Rader-Shieber: Stage Director. Set Designer: David Zinn. Costume Designer: Robert Perdziola.

Above: Alek Shrader as Alexander, Paul Appleby as Agenore, and Daniela Mack as Tamiri (all foreground) with Mark Goff and Elizabeth Zharoff in Il Re Pastore

All photos by Ken Howard courtesy of Opera Theatre of Saint Louis

 

There. I said it. Let the Glimmerglasswegians and the Santa Fesions rail and fuss, but OTSL has really got the whole package together: top quality musical offerings, exciting young singers well on the road to major careers, well-considered theatrical stagings that rival any major house (any), and an extra-musical ambiance that is just about unbeatable. Approaching the house through the lawn area profuse with candle-lit tables, free to any pre-show picnickers who care to use them, and being able to stay after the show to party, applaud, and mingle with the artists in the large Fest tent, well, it is sort of Glyndebourne without the ‘tude.

Add to the mix the fact that this troupe has consistently performed their repertoire in English, in a small house that fosters great immediacy of the theatrical experience, at competitive prices, and, good God, it is 'popular' opera! (Even when the title is not of the bread-and-butter variety). True, the Loretto Hilton lobby is cramped on SRO evenings but. . .there is always a stroll available on that candle-dotted lawn.

My recent visit found this resourceful company in its usual fine artistic form, beginning with as enchanting a production as I imagine possible of Mozart’s Il Re Pastore (The Shepherd King).

Wolfgang’s youthful (he was nineteen) work is set to a much-used libretto by Metastasio, and is of the formulaic opera seria vintage. You know, the kind that can be dead boring no matter how well it is performed. Not so here, thanks to a wholly winning, and dramatically truthful production directed by Chas Rader-Shieber.

For Mr. R-S has imagined it as a sort of Upstairs Downstairs episode with high notes, set in an English country house in a prior century, where a wealthy young woman and her fiance are hosting another well-to-do couple for a visit. After perusing the actual score of Re in this setting, our heroine becomes committed to the group’s enacting the story as the day’s entertainment, assigning roles to not only the other society figures, but also to the bustling servants.

This giddy, play-acting atmosphere yielded impressive results, not only in filling the story with meaningful (and not distracting) stage business, but also allowing for emotional honesty and invention in the many (usually) static set pieces of this genre. It did not hurt that David Zinn’s set was one of the most beautiful I can recall on this St. Louis stage, impeccably dressed. Nor that Robert Perziola’s classy costumes spoke volumes in defining the character relationships, and clarifying plot absurdities, including one drop-dead-gorgeous beaded gown for “Arminta.”

But all this technical brilliance would have been for naught without a top notch cast, and this, too, OTSL delivered in spades. The Gerdine Young Artists development program is a model of its kind, and this investment obviously pays off handsomely as four of the five soloists are former participants.

11_MG_3043a.gifL to R (foreground): Paul Appleby as Agenore, Daniela Mak as Tamiri, Alek Shrader as Alexander, Heidi Stober as Aminta, and Maureen McKay as Elisa in Il Re Pastore

Heidi Stober was radiant as the young affianced woman who is compelled to impersonate the Shepherd King Arminta and enact his plight. Her ample, well-schooled, warm lyric soprano blossomed especially above the staff, and her stage demeanor served up a generous helping of star-quality. Miss Stober was well partnered by her “betrothed,” the tenor Alek Schrader, pressed into duty to play the emperor Alexander. Mr. Schrader has an exceptionally pleasing Mozartean timbre, and his bravura rapid-fire melismatic phrases were heart-racingly delivered.

My favorable impression of Maureen McKay in last summer’s Un Cosa Rara was here confirmed with a securely sung Elisa, a maid who briefly enjoys enacting the longings of a noblewoman. Miss KcKay is capable of regaling us with accurate cascades of fioritura, likewise deploying her crystal clear tone in melting legato phrases. Her spunky stage savvy is equally bewitching. Paul Appleby has fewer fireworks to negotiate in the role of Agenore (advisor to Alexander, in love with Tamiri), but he sang with style and panache. As Tamiri, Daniela Mack complemented her cast mates with her slightly darker rich tone and attention to every musical detail. All five offered fine English diction, coached on this occasion by soprano Erie Mills.

In the pit, conductor Jean-Marie Zeitouni discovered all the youthful spirit and buoyant lyrical possibilities in the score (after a bit of a slack rhythmic start in the first few bars), and there was wonderful solo instrumental work as well throughout the evening. His conscientious partnering of the singers seemed to free them to soar through this youthful-but-challenging work.

The baton was successfully passed the very next night to another conductor whose stock is rising, Michael Christie, who helmed a musically rich reading of The Ghosts of Versailles, by John Corigliano, libretto by William M. Hoffman. After a sensational debut at the Metropolitan Opera in the early 90’s which was followed by several other revivals in major houses, Ghosts languished, largely (it is believed) owing to the lavish original designs, and massive instrumental and vocal forces required.

At St. Louis, the production team and composer have sought to down-size the piece to make it more accessible to smaller opera companies. As evidenced here, they have been largely successful in their attempt. Corigiliano is a brilliant orchestrator, and his original score took full advantage of the huge pit and full band of the Met. Here, Ghosts was re-scored in a new performing edition commissioned by OTSL and executed by John David Earnest. It was quite a successful trade-off, and much variety and color remained, many times (favorably) suggesting the smaller scores of Benjamin Britten. While the instrumental presence was almost always ample, there were a few climactic moments that seemed a mite under-powered, not least of which was the very final sting of Act One. These minor quibbles aside, this was a very fine re-working of the piece, that retained its musical integrity.

11_MG_1967a.gifKevin J. Glavin as Louis XVI and Maria Kanyova as Marie Antoinette with (at rear l. to r.) Dorothy Byrne as Susanna and Hanan Alattar as Rosina in The Ghosts of Versaille

We were equally fortunate with the physical production, directed by James Robinson, with sets by Allen Moyer, costumes by James Schuette, and most important, highly evocative video projections by Wendall K. Harrington. As we entered the auditorium, we discovered the theatre at Versailles, on stage, being refurbished by a contemporary restoration crew in blue jump suits. That image segued into the arrival of the ghosts, attired in lavish period costumes, and superb wigs/make-up by Tom Watson (a company treasure, he). The first notes of the score sounded, sans the usual conductor’s entrance, and the lighting melded into disorienting video work that transported us to the deserted stage of long ago, “beyond time” as the program noted. It should be said that Paul Palazzo provided the uncommonly fine lighting designs for both evening’s performances.

One element of the work that resisted diminution was the large cast demand. It took a village to get this work up, and there was great depth in the entire cast largely thanks (again) to the company’s young artists, who also formed the chorus under Sandra Horst’s direction. I did find that the dancers contributed less to the overall dramatic experience than they might have, and elimination of the dance corps might be a possible further cut-back. The stage got crowded at times, although Mr. Robinson not only managed the traffic well, but focused the important dramatic moments and developed believable characters and strong relationships.

Without creating a laundry list, it is hard to single out all who were excellent in this large ensemble cast. Certainly expectations were high for Maria Kanyova (another former apprentice) as Marie Antoinette, and she did not disappoint. Ms. Kanyova has a responsive soprano, with a hint of metal that stands her in good stead in dramatic segments, but she can also scale her voice down to float effective pianissimi that veritably float above the staff. She was a worthy successor to the great Teresa Stratas who created the role. Christopher Feigum was suitably winning as Figaro, although in his first big aria all the acting seemed to be external. The internal spark of creation crept in sometime during his (quite funny) Act One finale drag moments as the harem girl and he remained fully engaged for the rest of night. His pliant, smooth baritone gave considerable pleasure and he is a talent to watch.

Mr. Corigliano apparently loves his baritones and he created a fine complementary foil in Beaumarchais, well-taken on this occasion by James Weston. As should be, Mr. Weston has a little more maturity of tone and the bronze patina of his upper register contributed to a very effective contrast. His love for the doomed heroine was wonderfully embodied and his alternately witty and sensitive delivery enabled a well-rounded character to emerge.

As stage characters in the concurrent Figaro comedy, a jewel of an ensemble worked tightly together in a slightly heightened play-acting style. Samuel Read Levine (Leon), Paula Murrihy (Cherubino), Sean Panikkar (Almaviva) were all terrific, with young artist Jeanette Vechhione capturing the most applause for her technically secure stratospheric singing as Florestine. Hanan Alattar and Dorothy Byrne were exquisite in their limpid lyrical outpouring of the extended Act Two duet for Rosina and Susanna, a musical high point.

The real-time bad guys were equally well-served by Lee Gregory, a vocally assured and physically active (and fearless) Wilhelm, and by stentorian, tireless tenor (and fine character actor) Matthew DiBattista as Begearss. Elizabeth Batton did everything possible to amuse us in her star turn as Samira. Originally created for the particular gifts of Marilyn Horne, Ms. Batton made it her own with plummy tone, a well-modulated chest voice, and sound technique in the middle and (ringing) upper reaches. Quite a comedian, she wisely eschewed the baritonal power of Ms. Horne for an equally successful and personalized performance.

If I had to mention only three more performers, I would include the characterful Louis XVI from Kevin J. Glavin, the firm-voiced Marquis of Kevin Park, and the delightful Woman with Hat sung by Erin Holland.

Upon re-visiting The Ghosts of Versailles I still found it a particularly well-calculated mix of old and new styles, in turn challenging and comfortable, telling a dramatically satisfying and captivating story of fate and acceptance. If I still feel that the arias go on a bit longer than needed to make their musical or dramatic point, they never become uninteresting, especially in the hands of such a capable roster of performers.

This production will go on to fall’s Wexford Festival, and it alone would make it worth the trip to Ireland. It deserves many more performances.

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):